Proquest Dissertations
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Art of the Peace Symposium ‘07 the Prairie Art Gallery: 7 8 13 25 Contents 14 20 16 Steve Mills
A Publication for the Visual Arts Fall/Winter 2007 Issue 9 of the Peace www.artofthepeace.ca Brian Jungen: A DEEPER WELL Symposium ‘07 Deryk Houston: Cultivating a Place of Peace Open to Interpretation: Three Peace River Artists ollege C O NCE RT SER IES Mark O’Connor’s For further information hot swing please call GPRC Fine Arts at 780-539-2443 November 21, 2007 All performances at DJ Cardinal Performing Arts Centre Chatham Baroque January 11, 2008 Robert Silverman February 14, 2008 Ensemble Caprice baroque turbulence February 24, 2008 Camerata Nordica sweden March 16, 2008 Rising Again? Deryk Houston Workshops in Progress Art of the Peace Symposium ‘07 The Prairie Art Gallery: 7 8 13 25 contents 14 20 16 Steve Mills Brian Jungen Open to Interpretation art out there... 4 the BUSINESS of art 10 Art Books in Review 12 Artists with Issues 19 education & opportunities 22 The Last Word 26 Editor: Wendy Stefansson ©All rights reserved Art of the Peace Editorial Committee: Dale Syrota, Carrie Klukas 2007 Design, Layout & Advertising: imageDESIGN Art of the Peace Visual Arts Association Contributors: Jody Farrell, Wendy Stefansson, Ellen Corea acknowledges the financial assistance of: Reproduction in whole or in part is Publisher: Art of the Peace Visual Arts Association, strictly prohibited. c/o The Prairie Art Gallery, The Alberta Foundation for the Arts Suite #103, 9856 - 97 Street, Grande Prairie, AB T8V 7K2 Art of the Peace makes every effort to Ph: (780) 532-8111; [email protected] ensure the accuracy of the information Printing: Menzies Printers it publishes, but cannot be held respon- Cover: Prototype for New Understanding #5, 1999, Nike Air Jordans, City of Grande Prairie Arts Development Fund sible for any consequences arising from human hair. -
Winter Newsletter — 2021
Khaye Winter Newsletter — 2021 INTRODUCTION Message from the President . 1 Message from the Vice President . 3 Save the Dates . 4 COVID-19 Updates . 5 Memorandum of Understanding . 9 Tahltan Stewardship Initiative . 11 New Tahltans . 15 Condolences . 16 NEW STAFF Adam Amir – Director of Multimedia . 17 Ombrielle Neria – Communications Specialist . 18 TAHLTAN ONTRACK Tahltan OnTrack . 19 TahltanWorks becomes Tahltan OnTrack . 21 FEATURE Tahltan Nation & Silvertip Mine Impact-Benefit Agreement . .. 23 DIRECTORS’ REPORTS Lands – Nalaine Morin . 26 Wildlife – Lance Nagwan . 27 Fisheries – Cheri Frocklage . .. 29 Language – Pamela Labonte . 31 Culture & Heritage – Sandra Marion . 33 Education & Training – Cassandra Puckett . 35 Employment & Contracting – Ann Ball . 37 Membership & Genealogy – Shannon Frank . .. 38 Dease Lake Community – Freda Campbell . 39 PERSONAL PROFILES Elder – Allen Edzerza . 41 Culture – Stan Bevan . 42 Healthy Active Tahltans – Lane Harris & Brandi MacAulay . 43 Inspiring Young Tahltans – Megan Rousseau & Nathan Nole . 45 UPDATES TNDC Update . 47 Treaty 8 Update . 49 Contents 1910 Declaration of the Tahltan Tribe WE THE UNDERSIGNED MEMBERS OF THE TAHLTAN TRIBE, speaking for ourselves, and our entire tribe, hereby make known to all whom it may concern, that we have heard of the Indian Rights movement among the Indian tribes of the Coast, and of the southern interior of B.C. Also, we have read the Declaration made by the chiefs of the southern interior tribes at Spences Bridge on the 16th July last, and we hereby declare our complete agreement with the demands of same, and with the position taken by the said chiefs, and their people on all the questions stated in the said Declaration, and we furthermore make known that it is our desire and intention to join with them in the fight for our mutual rights, and that we will assist in the furtherance of this object in every way we can, until such time as all these matters of moment to us are finally settled. -
TRANSFORMING RELATIONSHIPS First Nations & China
First NatioNs & ChiNa Transforming BC Firstr NatioelaNs i ChiTNa strategyionships © august 2011 Cover Photo: heiltsuk Nation transformation mask dancerBC First NatioNs ii ChiNa strategy CoNteNts IntroduCtioN................................................................................................5 shariNg the Wealth.....................................................................................5 First.Nations.Energy.and.Mining.Council.................................................................6 Why develop a First NatioNs/ChiNa strategy?.............................................7 Historical.Relationship/Cultural.Affinity.................................................................8 Chinese.Investment.and.Development.in.Canada......................................................9 First.Nations.Rights.and.Title............................................................................ 10 Strengthening.Ties........................................................................................ 10 A.Proactive.Approach..................................................................................... 11 First NatioNs-ChiNa strategy.....................................................................13 Goals........................................................................................................ 13 Action.Areas................................................................................................ 14 MoviNg ForWard....................................................................................... -
The Alberta Foundation for the Arts Travelling Exhibition Program Now Is the Winter
Interpretive Guide & Hands-on Activities The Alberta Foundation for the Arts Travelling Exhibition Program Now is the winter... The Alberta Foundation for the Arts Travelling Exhibition Program The Interpretive Guide The Art Gallery of Alberta is pleased to present your community with a selection from its Travelling Exhibition Program. This is one of several exhibitions distributed by the Art Gallery of Alberta as part of the Alberta Foundation for the Arts Travelling Exhibition Program. This Interpretive Guide has been specifically designed to complement the exhibition you are now hosting. The suggested topics for discussion and accompanying activities can act as a guide to increase your viewers’ enjoyment and to assist you in developing programs to complement the exhibition. Questions and activities have been included at both elementary and advanced levels for younger and older visitors. At the Elementary School Level the Alberta Art Curriculum includes four components to provide students with a variety of experiences. These are: Reflection: Responses to visual forms in nature, designed objects and artworks Depiction: Development of imagery based on notions of realism Composition: Organization of images and their qualities in the creation of visual art Expression: Use of art materials as a vehicle for expressing statements The Secondary Level focuses on three major components of visual learning. These are: Drawings: Examining the ways we record visual information and discoveries Encounters: Meeting and responding to visual imagery Composition: Analyzing the ways images are put together to create meaning The activities in the Interpretive Guide address one or more of the above components and are generally suited for adaptation to a range of grade levels. -
Amtout~Tt~ BOX 004 &Tallon MAIN TERRACE BC VSO 4A2 November 30, 2016
pARTnerships pARTnerships pARTnerships pARTnerships pARTnerships TERRACE & Dl RICT Amtout~tt~ BOX 004 &TAllON MAIN TERRACE BC VSO 4A2 November 30, 2016 Regional District ofKitimat-Stikine 300-4545 Lazelle Avenue Terrace BC Attention: Vema Wickie Re: Annual funding grant This is in application for the annual Community Grant for 2017. Terrace & District Arts Council- TDAC- has traditionally received an annual grant from the City of Terrace in the amount of $22,500, 30% of which had been provided by the Regional District. As the City has directed all grant decisions and distribution to the Terrace Community Foundation, and as the Regional District will not be investing in the Foundation, we have been advised to apply directly to the District. Our application is for the previous 30% of$22,500 = $6,750. Included here: Description of our organization How our organization benefits the community Summary of Community Assistance Financial Statements Budget July 112016- June 30/2017 List of directors The Terrace & District Arts Council wishes to acknowledge and thank the Regional District for its continued support over the many years it has been active in Terrace and surrounding area. Through this support, our arts community has continued to flourish. A broad community which is able to claim a large professional performing arts theatre, Community Band, Little Theatre Group, Symphony Orchestra, Choral Groups, Art Gallery, local heritage site, Concert Society, Music Festival and many other similar organizations is one that will continue to attract residents and visitors alike. Sincerely, ~ ~ Ann Kantakis president pARTicipate pARTicipate pARTicipate pARTicipate pARTicipate pARTicipate DESCRIBE YOUR ORGANIZATION The Terrace & District Arts Council (TDAC) has been a strong voice for the arts community for over 40 years. -
FEVER DREAMS / / Interview with Andy Fabo
FEVER DREAMS / / Interview with Andy Fabo In a 1981 essay published in October, Benjamin Buchloh described contemporary artists engaged in figuration as “ciphers of regression,” artists whose practices represented a step backwards in the forward march of artistic progress. This prominent art historian, born in Germany and working now as a professor at Harvard, was employed at the Nova Scotia College of Art and Design (NSCAD) when he wrote this essay, appointed head of the university press between 1978 and 1983.i Buchloh was in part reacting to the extreme heat of the neo-Expressionist market of the late 1970s and ‘80s, which in many ways mirrored the excesses of Wall Street at the time; New York Times critic Roberta Smith reflects that “The Neo-Expressionists were an instant hit. The phrases ‘art star’ ‘sellout show’ and ‘waiting list’ gained wide usage, sometimes linked to artists you’d barely heard of.”ii Buchloh, like Clement Greenberg had for the modernist generation before him, played an outsized role in the nascent post-modern scene in Canada. However, unlike Greenberg, the rapidly expanding field of artistic production in Canada prevented him from playing the singular role that Greenberg had during his time. Simply put, the proliferation of university studio programs and the coalescing of artistic communities in various urban centres allowed for a multiplicity of practices that had not existed in Canada prior to the 1970s. Fever Dreams, which presents figurative works drawn from the Permanent Collection of the MacLaren Art Centre and dating from 1978 to 2000, highlights a seismic shift from a virtually monolithic focus on abstraction at mid-century to the more pluralistic artistic practices of the latter quarter of the twentieth century. -
Indigenous History: Indigenous Art Practices from Contemporary Australia and Canada
Sydney College of the Arts The University of Sydney Doctor of Philosophy 2018 Thesis Towards an Indigenous History: Indigenous Art Practices from Contemporary Australia and Canada Rolande Souliere A thesis submitted in partial fulfilment of requirements for the degree of Doctor of Philosophy at Sydney College of the Arts, University of Sydney This is to certify that to the best of my knowledge, the content of this thesis is my own work. This thesis has not been submitted for any degree or other purposes. I certify that the intellectual content of this thesis is the product of my own work and that all the assistance received in preparing this thesis and sources have been acknowledged. Rolande Souliere i ACKNOWLEDGEMENTS I would like to thank Dr. Lynette Riley for her assistance in the final process of writing this thesis. I would also like to thank and acknowledge Professor Valerie Harwood and Dr. Tom Loveday. Photographer Peter Endersbee (1949-2016) is most appreciated for the photographic documentation over my visual arts career. Many people have supported me during the research, the writing and thesis preparation. First, I would like to thank Sydney College of the Arts, University of Sydney for providing me with this wonderful opportunity, and Michipicoten First Nation, Canada, especially Linda Petersen, for their support and encouragement over the years. I would like to thank my family - children Chloe, Sam and Rohan, my sister Rita, and Kristi Arnold. A special thank you to my beloved mother Carolyn Souliere (deceased) for encouraging me to enrol in a visual arts degree. I dedicate this paper to her. -
Counterfeit Cultures
COUNTERFEIT CULTURES CULTURAL APPROPFUATION, ART BY NATIVE ARTISTS AND CANADIAN ART GALLERIES Pamela Krueger A thesis submitted in partial fiilfiUment of the requirements for the degree of Interdisciplinary M. A. in Humanities: Interpretation and Values Laurentian University, Sudbury, Ontario O Copyright by Pamela Knicga 1998 Acquisions and Acquisitions et Bibliographie Services senrices bibliographiques The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, disûicbuer ou copies of this thesis m microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/nlm, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or othemise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. COUNTERFEIT CULTURES CULTURAL APPROPRIATION, ART BY NATIVE ARTISTS AND CANADIAN ART GALLERIES Cbairpasoa of tht Supavisory Coomiinet: Dr. Carouc GagInm This thesis examines cuitural appropriation, its importance, and the role played by Canadian art galleries in cultural appropnation relative to the exhibition and collection of art by Native artists. After estabiishing a common ground conceming terminology and concepts, a definition for cultural appropnation is developed according to its specificity and importance for Native and Western cultures. -
NWCC July2017 Aboriginal Student Support FINAL.Indd
Aboriginal Student Support at Northwest Community College 2016 – 2017 To honour their accomplishments, new NWCC graduates were drummed into the theatre by Gitlaxdax Drummers at the 2016 convocation ceremony. TABLE OF CONTENTS Introduction 1 Programs and Courses with Aboriginal Focus 2 Administration of Education Policy 2 Centre of Learning Transformation 3 Creative Programming and Curriculum Development 4 Pedagogy and Course Content 7 Training Partnerships and Community Engagement 8 Student Supports 11 Team Approach 11 Cultural and Spiritual Activities 12 Additional Supports 12 Aboriginal Service Plan (ASP) Funding 17 Fostering a Culture of Respect 18 Representation 18 Cultural Awareness 19 Conclusion 21 Appendix A: In the Context of Key Documents 24 Appendix B: In-community Courses and Training Partnerships 30 Cover image: NWCC students participating Appendix C: Detailed Course Descriptions 34 in the Kitsumkalum fi eld school in 2016. Aboriginal Student Support at Northwest Community College 2016 – 2017 | i NWCC’S EDUCATION IS UNITY POLE This contemporary totem pole was carved to recognize the importance of education to First Nations of the northwest, now and for future generations. Originally initiated to commemorate the 25-year anniversary of the College, the purpose and meaning of the project grew as we acknowledged the role of post-secondary education in the lives of First Nations people in the region. It symbolizes the unity felt by the Wet’suwet’en, Gitxsan, Haisla, Talhtan, Nisga’a, Tsimshian, and Haida when it comes to meeting the educational needs of their people. The fi rst pole to be raised on the NWCC Terrace campus, it represents the four crests common to the northwest coast First Nations people: Wolf, Killer Whale, Raven and Eagle. -
View Pdf Catalogue
INUIT & FIRST NATIONS ART July 12, 2020, Toronto First Arts First Arts INUIT & FIRST NATIONS ART AUCTION SUNDAY, JULY 12, 2020 at 7pm EDT Held at A. H. Wilkens Auctions & Appraisals 1 William Morgan Drive, Toronto PREVIEWS Thursday July 9 10am – 5pm Friday, July 10 10am – 5pm Saturday, July 11 10am – 5pm Sunday, July 12 12pm – 3pm To ensure a safe and orderly viewing experience we highly recommend scheduling an appointment to preview as we will be limiting access to the auction rooms in accordance with social distancing guidelines. For more information call: 647.286.5012. All lots may be viewed online on our website: www.FirstArts.ca ABSENTEE AND PHONE BIDDING Please contact us to register for telephone or absentee bidding. In order to ensure proper processing, all absentee bids or requests for telephone bidding must be submitted before 3:00pm on the day of the auction. Phone: 647.286.5012 Fax: 416.360.8900 [email protected] BUYER’S PREMIUM: 20% The auction will be live streamed on YouTube, and internet bidding will be available through both Liveauctioneers and Hibid. Please consult our website for any changes or updates. This auction is subject to the Terms and Conditions printed in the back of this catalogue. Copyright ©2020 All rights reserved. This book or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of First Arts Premiers Inc. Catalogue photography by Dieter Hessel Catalogue design by Colleen Clancey Catalogue published by Heliographics, Toronto, and printed in Canada by Friesen’s Front Cover: Lot 37, Inside Front Cover: Lot 84 (detail), Back Cover:Lot 51 Introduction First Arts e at First Arts are proud to present our Spring/Summer 2020 live auction collection of Inuit, First Nations, irst Arts is an ambitious project. -
Uva-DARE (Digital Academic Repository)
UvA-DARE (Digital Academic Repository) The new tribe: Critical perspectives and practices in Aboriginal contemporary art McMaster, G.R. Publication date 1999 Link to publication Citation for published version (APA): McMaster, G. R. (1999). The new tribe: Critical perspectives and practices in Aboriginal contemporary art. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:23 Sep 2021 250 The New Tribe Supplement IV List of Illustrations fig- 1 Edward Poitras, Coyote (1986). Collection of Neil Devitt, Regina, Saskatchewan. fig. 2a Edward Poitras, Big Dog House (1995). Mixed-media installation. From the exhibition Edward Poitras: Canada XLVI Biennale di Venezia, 1995. Collection of the artist. Photograph by Stephen Darby. fig- 2b Edward Poitras, Big Dog House, (detail). -
Institutional Accountability Report and Plan
Institutional Accountability Report 2018and-19 to 2021Plan-22 July 2019 Coast Mountain College Accountability Statement July 3, 2019 Honourable Melanie Mark Ministry of Advanced Education, Skills and Training Parliament Buildings PO Box 9080 Stn Prov Govt Victoria, BC V8W 9E2 Dear Minister Mark; On behalf of the Board of Governors and the employees of Coast Mountain College, we are pleased to provide you with the 2018/19 Institutional Accountability report. This report reflects upon our success over the past year as we move towards the direction laid out for the next several years under the Coast Mountain College strategic plan. With the senior leadership in place, the organization has been working with community partners on several key initiatives: Effective June 18, 2018 Northwest Community College officially became Coast Mountain College (CMTN). The name change comes after two and a half years of research, community engagement and a strategic planning process that involved staff, faculty, students, alumni and community members. During the last year, the college rolled out its new name with a new brand image. The name Coast Mountain College and the brand chosen was chosen both link the importance of the people, places, geography and culture that are only found in this part of the country. This new visual identity also reflects the connection to community that we know is so dearly valued by our alumni, staff, students and other stakeholders in the community. The colour is a nod to the glaciers and rivers that define the area. The logo includes C-shaped forms referring to the coastal areas of the region and an M shape that represents the mountains.